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Chapter Week 3

MUSIC 15 Chapter Notes - Chapter Week 3: Chromaticism, Holy Roman Empire, Enlightened Absolutism

Course Code
Jocelyn Ho
Week 3

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From MITA: An eventful story-> Book 3: The Viennese Style -> Prelude: The Age of Revolution
European Enlightenment: The Age of Reason and Intellect
Immanuel Kant:: Critique of Pure Reason
Basis of all ethics/morality lies in union of reason with human experience
Anything that couldn’t be directly observed is speculation
reason>tradition/longstanding authority of noblemen
Also the age of revolution
Napoleon symbolized for europeans both ideals and excesses of the age
of revolution
Rise of Vienna (1780-1830)
No city dominated the musical scene as did Vienna, the capital of the Habsburg
empire and center of the Holy Roman empire
Musicians flocked to Vienna, attracted by the patronage of the royal
Patronage started emerging from wealthy landowners, merchants and
business men;
The musical tastes of these new patrons were progressive and
even revolutionary
Joseph II (enlightened absolutist ruler)’s declaration of war on turkey
caused a nosedive in Australian economy, damaging to musicians
Music mad city, 200 makers of musical instruments, more than a dozen important
music publishers were active in Vienna at the turn of the century
The Viennese “Classical Style”
Four major composers: Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van
Beethoven, and Franz Schubert
Though they fit more closely with the early stages of romanticism than
Degree of the composers’ mutual influence and interdependence is
unparalleled, but there is a lot of stylistic contrast and evolution
Haydn: early music betrays clear signs of late Baroque influence
Schubert: in song and later instrumental works influenced
generations of Romanticss/post-Romantics
The development and exploitation of Viennese musical language in the period
ranks among the most impressive accomplishments of Western music
Viennese Style Traits
The musical language spoken by Haydn, Mozart and Beethoven was
conversational with a focus on “naturalism”
Dramatic reversal from late Baroque style
Speech-like style supported by texture of theme-and-accompaniment: upper
melody supported by subordinate low voices
Themes had shorter phrases that mirrored speech patterns
Usage of cadence as punctuation
Harmonic language more simple and diatonic than baroque period
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